Review: Although he is primarily focused on his own label, Berliner Mike Dehnert is known on occasion to release for other imprints. Most notably, his The Many Roots on Deeply Rooted House is one of his most impressive and accomplished records. This three-track release for Danish operation Echocord is somewhat muted. It feels like after nearly a decade of dropping dark, dubby techno, Dehnert is enjoying some much-needed introspection. This manifests itself on the understated, rolling title track, but is more audible on "Losange". Like a stepping, spindly take on minimal, its stripped back rhythms are populated by husky vocal samples. Meanwhile, "Chaleur Tournante" is a return of sorts to Dehnert's sound, a dubby groover with that unmistakably insistent backing rhythm.
Review: Absent on the production front since his latest LP dropped on Delsin in April, Mike Dehnert returns to home base Fachwerk for the Switch Back To City EP. As ever, there's a leftfield vibe to much of the four productions from Dehnert, and the producer sounds like he had particular fun with lead track "Detroit Switch Back To City", which twists those trademark synths in all new ways. A more explicit dub techno approach takes hold on "Orage de Chaleur" though Dehnert does drop plenty of alien sounding textures into the mix, whilst both "Sans Cesse" and "Lax" offer a detour into wonderfully deranged techno territory.
Review: As head of Fachwerk along with Roman Lindau and Sascha Rydell, Mike Dehnert has cultivated a weighty brand of techno that still contains a noticeable element of funk. He's also the most prolific of the three, with countless digital albums produced over the years in addition to pair of long players issued on Delsin and Fachwerk and his occasional dalliances with other labels like Echocord and the Clone Basement Series. Outside of Fachwerk, Marsel van der Wielen's Delsin is perhaps the one other label you'd closely associate with Dehnert and it's little surprise to see the Dutch imprint collar him for the 12-track Lichtbedingt. Described by the label as "yet another subtle evolution away from the chord driven, functional sound" Dehnert was initially known for, the album incorporates moments of beatless electronic experimentalism, broken bass, and swinging house, with the results still resolutely Dehnert!
Review: Placide provides a four fingered assault on your senses from the prolific Mike Dehnert through home stable Fachwerk. Apparently inspired by some spam email entitled "Give It To Me Raw!" Dehnert elected to record opening track "Drehimpuls" live in Paris for extra rawness, with suitable results; the track literally barrels through a thick wall of corrugated sonics. The remaining three tracks sound slightly cleaner in comparison, though the sheer sound design at play ensures the unpredictable serrated synth of "Charger" or booming warehouse groove of "Eigenzeit" prove just as memorable. Final track "Isolant" is undeniably funky too, trapping some lost female vocal deep beneath the mangled kicks and smacked out whistles.
Review: Making a return to Delsin with his first full release for the label after the excellent Framework LP from last year, the uber-prolific Mike Dehnert delivers an EP which is something of a departure from his usual sound, but no less essential for it. "Andruck" sees Redshape-style synths cast adrift over a pulsating bass, loose cowbell with a distinct lack of 4/4 present, while "Tracer" goes for the jugular with its combination of Millsian bleeps and subtle but gravelly dub chords. "Refillable" will go down well with fans of Skudge and Shed, combining a relentless rolling rhythm, fluid, twisting, filtered stabs and indistinct vocals, while closer "Umgangston" is built around a ravey chord sequence which fluctuates in and out of intensity with a freeform manner. Dehnert must be one of techno's most dependable producers, and he's come up trumps once again.
Review: Berlin producer Mike Dehnert's second artist album in as many years will probably not win any awards for its imaginative title, but once the needle drops, there is no end of surprises. The most remarkable aspect of Fachwerk 25 is that it sounds unlike anything else he has released. This is especially surprising given that he had come close to perfecting the art of creating grungy, Chain Reaction-influenced techno, but it is crucial that he did so as his releases had started to sound samey. Indeed, the greatest strength of this long player is that it sounds like many things, but the one thing that it only occasionally sounds like is a Fachwerk record. There are austere but brief codas on "Intro" (another great name!) and "STH", while Dehnert proves himself to be an unlikely fan of Italo and minimal wave with the pulsing grooves and eerie synths of "Fraction" and "Modulat". He also gets on board the acid train on "Resize" and "Slim" but thankfully doesn't attempt to recreate jack tracks, instead favouring a dalliance through rough rhythms. Speaking of underground techno, he shows his appreciation for the noisy, distorted end of minimalism once practised so effortlessly by Landstrum and Vogel on the wonky rhythm and analogue yelps of "Grundform", rather than the spacious dub rhythms of Basic Channel. But while Fachwerk 25 celebrates electronic music's past, it also sees Dehnert escape from his own musical inhibitions, and as the evocative ambient textures of "Courant" demonstrate, it is at times a painfully beautiful parting of ways.
Review: Mike Dehnert arrives on the Echochord Colour series in the midst of a purple patch, having sported various takes on the glowering techno world he occupies, as anyone who has checked recent drops on his own Fachwerk and Clone Basement will testify! The EP opens in fine style with the guttural vocal intonations of "RGS2" cascading in sync with the gloopy bass hits, dragging you down a k-hole of despair until the rasping hi-hat procession arrives and a sense of industrial chaos grows. Flipside, "Bar2" operates around minute rhythmic deviations from the thick set groove - just wait for the sprawling synth line to coax more metallic hi-hat brilliance into action. Fellow Fachwerker Roman Lindau remixes "RGS2" into a growling, scratchy, heads down techno bump.
Review: Mike Dehnert is a firm fixture amongst the tougher realms of Berlin techno, not least for his Fachwerk label. This time around, the menacing lunge of EP opener "Montage" plumps straight for the awesome industrial, melodically-bled kind of techno that rattles Berghain on a weekend. "Isolateur" sparks even more interest with its housey refrain pinned down by a steady set of notes that seem positively musical in comparison. "Picon" is a surprise of ambient techno, with not a whiff of mixability about it. It's a pleasant reminder that, when he feels like it, Dehnert is capable of trying something different. An excellent and well rounded EP.
Review: Mike Dehnert and his Fachwerk and MD2 labels have been at the forefront of 90s-inspired techno for the past few years - but will his consistently high strike rate translate to a long player? Thankfully, Dehnert sticks to what he knows best, resisting the ill-advised urge to position himself as a versatile all-rounder. Apart from the brief, abstract "Intro", the dreamy ambience of "Kontextfrei" and the hissing static noise of "Outro", the album centres on the dancefloor, but manages to avoid repetition. And while the dubby bass, scuffled beats and clanging percussion of "Infix" is indicative of the Berlin producer's abeyance to the Basic Channel/Chain Reaction axis, Framework widens his scope; "Beatmatching" is an uplifting vocal-sample heavy groove and this new-found playfulness is also audible on the rave riff sampling "Teilfolge" and the purring bassline and synth melodies of "Quattro". Dehnert may be operating in a new format, but Framework proves that when it comes to techno functionalism, he is peerless.
Review: Delsin have chosen a fully established crop of producers for the second 100DSR release, which sees Fachwerk boss Mike Dehnert, alongside Dutch electro revivalist Conforce and '90s British electronica act CiM. Mike Dehnert's return to Delsin comes in the shape of a big room take on his trademark sound with "Passenger", while Delsin regular Conforce delivers "Wave Trace", some dubbier, electro tinged techno similar to his Escapism album. Whereas 100DSR/VAR1 looked to newer names in Gerry Read and Unbroken Dub, Delsin have delved deep into their back catalogue by releasing a new track from Simon Walley's CiM project. It's the first showing of music by CiM since his Noki Bay EP on Ann Aimee released a decade ago, and almost 15 years since he debuted on Delsin with the six-track EP Service Pack.
Review: Celebrating thirty releases of unrepentant, groovy techno, Mike Dehnert's Fachwerk stable has always been defined by the man himself and his cohorts Sascha Rydell and Roman Lindau. Here they all get a look in with a three-way collaboration resulting in the titular track "Fachwerk 30". The quirky stomper features impulsive key stabs and bassy grumblings that bring to mind a free-flowing studio jam session, not least when the nasty acid tweaking comes in at the end. Roman Lindau's own "The Yeah Thing" is an addictive slice of bumping techno, while Sascha Rydell finds a more rolling framework to get busy with, but all the tracks make sense forming part of a greater whole, like all of Fachwerk to date.
Review: In the lead up to Fachwerk's quarter century milestone - an album from Mike Dehnert - the label's main players again share the release duties. Sascha Rydell's contribution is by far the most crossover, centred on a discoy loop and offering a housey version of Fachwerk's sound. Elsewhere, it's business as usual; Roman Lindau's "Plavix" is everything one would expect from the Berlin label, a stripped back techno groove, slightly stepping and swathed in razor-sharp metallic percussion. Dehnert meanwhile, drops the clunky drums and visceral hats of "Avec", which provide the backdrop for a typical chord build. But just as Rydell surprised, so does the label owner and "Traces Of" provides an unlikely mixture of distorted beats and a sassy double bass.
Sascha Rydell - "When You Play It" - (6:09) 125 BPM
Roman Lindau - "Under Pressure" - (5:11) 125 BPM
Review: Germany's Fachwerk stable drops a second collaborative EP from label heads Mike Dehnert, Roman Lindau and Sascha Rydell. Entitled, quite simply, Fachwerk EP 2, it follows last year's Fachwerk EP which included tracks from each of the three producers at the centre of the label's quite singular techno vision, which combines crunchy, swung mechanical rhythms with warm, rolling, dubby tones. It's one of several releases which will culminate in the release of the label's 25th release, which we imagine will be something quite special indeed. The EP is as brilliant as you'd expect, with the muscularity of Dehnert's "M10? augmented with vocals that sound like snatches of Arthur Russell, the metallic strings of Lindau's "Grow" and the manic piano groove of Rydell's "When You Play It" all offering solid entries into the label's formidable catalogue. This label is simply on fire at the moment - don't sleep.
Review: Fachwerk has big plans to mark its eighth anniversary. Apart from a series of label nights, it also has an album release in the pipeline. For the many fans who won't be able to wait for that release, this EP may satisfy. Dehnert's own "Avant Que" is a rolling, driving affair, made all the more urgent by dint of its alarm bell hooks, while "Hain" is a buzzing, swinging dubby groove. By contrast, Sascha Rydell's "Identified" revolves around a stripped back, splintered rhythm and Roman Lindau's "Rockin Snare " is a stepping, insistent affair, shot through with a repetitive vocal sample. It shows that after eight years, Fachwerk still has the magic touch.
Review: Fachwerk signs off on an excellent year in the best way possible - presenting this collection of all new material from label bosses Dehnert, Lindau and Rydell. Roman calls shotgun with the brain matter scraping, gutter punch rhythms of "Hurt" that masterfully crafts the relentless motion from indecipherable vocal fractures. As finely poised as the track is, the A-Side is dominated by the subsequent collaboration between Lindau and Dehnert. "Sophia" is perhaps the most dementedly brilliant production to surface from the Fachwerk studios yet, with the dense swamp of bass and singular drum kicks in the opening bars not really giving prior warning to the thrilling rhythmic mess of saturated acid and panning vocals. Dehnert is in more familiar foundation-pummelling form on the flip with the caustic and unrelenting "Blattwerk" which explodes with colourful textures midway through, whilst Sascha Rydell has the last laugh with the pressurised percussive presence of "It Happened". Big tip!
Review: New music from Mike Dehnert is always a cause for celebration and Anlaut is no different. It sees the Fachwerk boss break down the structures of modern techno to deliver a distinctive release. "Spacekid" sees him serve up scuffled rhythms and malfunctioning space invader sound effects, while on the title track, he adds layers of acid and fizzing industrial sound effects to a broken down drum track. "Relike" is straighter, with Dehnert reverting to the type of dubbed out groove that both he and his label are renowned for, while on "Feeling Go", an eerie organ riff and spliced up vocals unfold over a stepping rhythm. It demonstrates that when it comes to underground techno, few producers do it better than Dehnert.
Review: Mike Dehnert makes a departure from his usual cavernous dub techno sound on Wexit . "Given Take" is a stripped back, slinky affair, featuring spliced up vocal samples and rickety rhythms, while on "Greenrock", it sounds like the arrangement is submerged in waves of white noise as Dehnert delivers a clanging, metallic groove. On " Kraft", the approach is quite different, as he drops a driving, percussive groove that's led by firing high hats and a squelchy backing track. Meanwhile, "Trible City" has echoes of 90s loop techno as a layered, rolling arrangement is powered by powerful, panning filters. It's a fine release by a producer who is at the top of his game.
Review: After a six-year hiatus, Mike Dehnert resurrects his MD2 label with this hard-edged release. "MD2.7.1" is a no-nonsense affair, as a muffled vocal unfolds over a searing electronic rhythm and firing percussive volleys. On "MD2.7.2", the German techno producer opts for a more stepping approach, with a shrieking machine riff dropped over a grainy, offbeat rhythm, while the third instalment sees him go somewhat deeper, as foreboding chords are filtered in tandem with a stepping groove. In many ways Dehnert's dilemma was that the MD2 series was ahead of his techno peers, but despite the passage of time, there is little to equal the fuzzy distorted banger that is "MD2.7.4".
Review: Dehnert is a prolific producer, with a long list of EPs and albums to his credit, but Home is his most diverse work yet. While he initially rose to prominence with storming club tracks, much of his latest album sits in stark contrast to that style. There's the atmospheric ambience of "Intro" and "No Time", and the electronic torch song, "Between No Words", featuring the vocals of Albert Vogt. On "Want Be", there are echoes of the German producer's sinister techno sound, albeit realised against a lithe stepping rhythm, while the title track and "Up" sees Dehnert use his trademark churning chords and firing percussion in a more off-beat style. Even on more out and out dance floor tracks, like the swirling organ playing of "Providing Home 2", Dehnert ends up sounding more like Bodycode than Basic Channel. It's an assured, mature work.
Review: After a sterling job of inaugurating DJ Koze's new sub label Hart & Tief a mere few weeks ago, Berlin hero Mike Dehnert returns to hand in an equally brilliant release for parent label Pampa. Although known for his structured and disciplined industrial techno on his revered Fachwerk imprint, Dehnert has shown that he can go deep as well, without compromising his tough as nails work ethic. On "How Close To Be", a buzzing modular pulse grinds away on top of a restrained rhythm and delay drenched vocals and its less is more approach works wonders. More modular gnarliness for offer on the spooky "Me Too", where uplifting keys are contrasted by squealing analogue grit and a steady beat.
Review: Back in 2009, Fachwerker Mike Denhert was employed by Clone to launch their robust, no-nonsense Basement Series with the Umlaut2 12" which packed a memorable Levon remix. Denhert's entered the Clone Basement several times since then, this 12" is his fourth for the series! The title track sets the tone, with steely percussive hits and razor-sharp stabs riding a swinging, funk-fuelled groove. "Wokabeat" is deeper, darker and more obviously bass-heavy, with Denhert adding skipping cymbals as a neat contrast. Arguably best of all, though, is closer "Say How", whose cut-up vocal samples and sweaty rave stabs perfectly compliment his tracky, locked-in, snare-heavy techno groove. There are few surprises, but all four tracks hit home hard.
Review: Two legends of the German scene inaugurate new Pampa sub label Hart & Tief. First up is Philpot main man: Stuttgart's Michel Baumann aka Soulphiction, with the dirty lo-slung minimal funk of "Sky So High" which is a perfect joint for rocking the after-hours with its dusty jacking rhythm and grinding baseline. Secondly, we have Fachwerk head honcho from Berlin Mike Dehnert who presents "Zumwald", another expression in retrained industrial techno with its meticulously detailed machine rhythms accompanying an infectiously buzzing bassline geared for some absolute hands in the air moments.
Review: Berlin imprint Fachwerk has continually set high standards in techno for nigh on twelve years now. Its output particularly the early 2010's heralded a new era in German techno alongside established local imprints such as Klockworks, Vidab and MDR. It's steely, refined and austere aesthetic is on fine display on the fourth edition of the label's new digital reissue, containing material from the early vinyl releases FW031 - FW038, including unreleased special edits. All the usual suspects appear: label staple Roman Lindau delivers a barrelling rework of UK producer Roberto's "Rings Of Smoke" in proper heads down fashion, the ever impressive Sascha Rydell delivers more reductionist club music executed boldly on "Haptic", label chief Mike Dehnert finely shows off exactly what high-end dub-techno is on "Placide" while label newcomer Jens Tozzberg does ultra deep on the cavernous and glacial hypnotism of "Baritum".
Mike Dehnert - "Boot Break" (remix) - (6:09) 124 BPM
Mike Dehnert - "LIVE Act Cut In Paris" - (5:39) 126 BPM
Mike Dehnert - "Charger" - (5:31) 125 BPM
Mike Dehnert - "Eigenzeit" - (5:55) 125 BPM
Mike Dehnert - "Isolateur" - (4:56) 125 BPM
Mike Dehnert - "FW" - (5:09) 125 BPM
Mike Dehnert - "Fachwerk 30" - (5:23) 125 BPM
Roman Lindau - "The Yeah Thing" - (5:59) 125 BPM
Sascha Rydell - "Palinka Girl" - (6:54) 125 BPM
Review: Over the course of a decade, Mike Dehnert's Fachwerk label became synonymous with a defined techno style - steely and functional but also inspired by the spacious dub shapes of Chain Reaction. This third collection of the label's highlights shows just how much Fachwerk's tight collective of artists created this sound, with contributions from just Sascha Rydell, Roman Lindau and Dehnert featuring, and tracks such as Dehnert's "M10"; Rydell's "When You Play It" and Lindau's "Under Pressure" exemplifying the Fachwerk sound.
There are some surprises however: Dehnert's own "Sophia Minus 2 Octave" features vocal snippets amid its grungy acid groove, while the label owner's "Blattwerk" is a steam-rolling metallic groove, but in the main, Fachwerk Part 3 is an impressive synopsis of the Fachwerk sound.
Review: Hot on the heels of the first Fachwerk compilation comes this follow-up instalment. The German label's contribution to underground techno has been considerable over the past decade, and this compilation showcases all aspects of its sound. On one hand, there's deep, dub techno bombs like label owner Mike Dehnert's "KEME" and the swirling chords of his "Dico B1" track, while at a different end of the spectrum, Roman Lindau opens up with the vocal-sampling house track "Adipeux" and the filtered "Sonnerie". On other occasions, Fachwerk offers up a more stripped back, linear take on techno mainly due to Sascha Rydell's contributions - but this release successfully brings together all of these strands in one cohesive manner.